The post-war Theater witnessed the alterations that the whole world underwent in the course of the Second World War. Right after the war, the European theatrical scenes were occupied by the plays of three authors. They are Tennessee Williams with his “Cat on a Hot Tin Roof”, Jean-Paul Sartre with “No Exit”, and Samuel Becket “Waiting for Godot”;
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Modern Theatre comes from the European Renaissance Theatre of the 16th-17th centuries that dates back to the Ancient Greek and Roman Theatre. Its foundation was laid down in England and Italy, especially by the English Renaissance Theatre between in the period between Reformation and theatre closure in 1642;
The beginning of the 19th century was swept by the never-before-seen cultural movement known as Romanticism. One of the first European dramatists who got himself involved in this process was August Schlegel that considered W. Shakespeare the greatest playwright;
The New Learning English Theatres
The emergence of the New Learning Theatre caused the rise of a great deal of theatres in London which still enjoy wide popularity up to this day. There were two important economic factors that gave rise to its wealth and survival. Most of them were private, including the Theatre by James Burbage and Globe by Shakespeare and his companions. The most fundamental theaters were the Rose, the Swan, and the Red Bull.
The architectural construction of that-time theatres was rather different from the contemporary ones. Most of them were 3 stories high, round, making the scene the central place of every construction. The back side of the theaters was allowed for actors and musicians only. An overwhelming majority of the European theaters of that time were very similar. The private theaters were five-six times more expensive than public ones and for this reason private theaters were accessible for rich people only.
There were some open-air theaters that were even more popular. The three of them were the Globe, the Fortune and the Red Bull. The most distinguished dramatists of the time were W. Shakespeare, C. Marlowe, B. Johnson and many others.
The approximate initial capacity of that-time theatres was 5,000 whereas by 1610 it increased up to 10,000.
In a word, the political and economic stability of the Elizabethan England strengthened not only the state in general, but its cultural life as well.